Saturday, July 17, 2010

All Saints' Church, Srinagar, and Cecil Barton

Reply

Dave Barton

to me

9:59 PM (1 hour ago)

Dear Sir,

I'm sorry to trouble you, but I found your blog posthttp://autarmota.blogspot.com/2009/10/churches-in-srinagar-city.html and it interests me because my great grandfather Rev. Cecil Barton was a missionary in Srinagar until about 1904, based at All Saints Church (see the attached images). He was also a friend and climbing companion of Ernest & Arthur Neve, who you mention in the blog above.

I have quite a few of his beautiful old photographs of Srinagar, including one of Saint Luke's (in its prime). I'm in the process of scanning them all into jpgs and I'd be happy to share them if you're interested. For my part I would love to find out if Cecil's old house still exists and where it is/was (it's shown in the third picture attached; it was just behind All Saints apparently, though I don’t know if the old All Saints was on the site of the new).

Tuesday, July 13, 2010

"I have no words to express my gratitude for organizers of this Opera . My special thanks to Naadim Sahib and my thanks to all actors. I shall be failing in my duties if i do not add words of appreciation for the Character NEEL NAAGA OR KING NEEL NAAGA OR THE BLUE WATER SPRING OF VERINAAG KASHMIR CONSIDERED TO BE THE SOURCE OF RIVER VITASTA , Played by Makhan Lal Saraf . My sincere gratitude to this talented artist for this superb performance . I happen to be from the district where Neel Naag is located . Historically, this spring is a link of profound importance in the story of our great river VITASTA."

So said Mirza Afzal Beg( in his concluding address after witnessing the opera ) the then Deputy chief Minister and also a close associate of Sheikh Mohammed Abdullah . He came up to the stage shook hands with all artists and hugged Makhan lal Saraf affectionately. When the opera concluded , everyone in the hall stood up to give the artists a standing ovation by cheering them lustily for more than 15 minutes . The Music , the actors , Naadim Sahib's Poetic presentation and the costumes kept every one in the audience spell bound.As far as i remember it must have been late seventies and the opera was staged in Jam packed Tagore Hall srinagar . Mirza Afzal beg happened to be the chief Guest. I vividly remember the costumes of the artists designed by G R Santosh noted painter from Kashmir.

About his acting style Prof Jaya parimu informs ,

"Having watched him act in several one acts or dramas; I have watched him
closely during "Vitasta "opera days.His
entrance on stage , with his perfect skills , poise and confidence to perform
in front of the audience is masterly. His voice , emotions, and movements are
just perfect. An outstanding actor."

“ We had a community theatre in city and
Paa'thhar in villages. we have a long history of theatre in kashmir. Our
Paa'thhar was totally based on Ancient sanskrit Drama techniques . You start
with a Prayer , You have a Sutradhaar and a Vidhushak.

In eary fifties , Prithvi Raj kapoor of Prithvi
Theatre Mumbai , formally inaugurated a Theatre premises at Shivala in srinagar
city . I still remember the stone that bears his name.

Autar ji Drama ,Theatre and acting was a much
detested profession in conservative society of Kashmir . I talk about a period
very close to independence ( 1947 ) as well . Can you believe me that drama /
Theatre actors were nicknamed as Raa’s Kath .“Hayo Ya haa Chhuyi Raa’s Kath or “Look he a Raas
Sheep “

The nickname came from Sanskrit word Rasik (Rassa
) mentioned in Natyashastra as well but Kashmiris attached Kath to it meaning a
sheep. And Our great artists Sudhama ji Kaul , Jagan Nath saqi and Radha
Krishen Barbazoo could not get a match /get married because of their association
with drama / Theatre. At that point of time ,the conservative kashmiri society,
did not accept or recognize their talent . Things have altogether changed now. “

When Sheikh Mohd Abdullah decided to start Inter state Cultural exchange concept , Makhan lal saraf along with 70 other artists from the state visited entire country to perform Plays like PIYA BAAJ PYAALA or TIPU SULTAN ( He Played the role of Tipu's Father ) and HIMALAYA KE CHASHME ( He played the role of Sherwaani ). One must read newspaper reviews of that period to know how well the troupe from our state was received and how well the talent of our actors especially Makhan lal Saraf was appreciated .

Born at Chinkral Mohalla in srinagar city ,he shares his birth place with shams faqeer the tallest sufi poets of kashmir.Totally self taught , he acknowledges the valuable guidance of R K Braroo( NSD Graduate ) and Pran Kishore in shaping the artist in him.

Theatre may have given him the much needed intellectual satisfaction yet he did not live by theatre alone . Saraf worked as a section officer in higher education department of the state . I saw him many times at Amar Singh college where he remained posted for quite a long period.

Makhan Lal saraf is a playwright , Producer , actor and author all combined beautifully. Author of two milestone books " From Actor to Artist ( English )"and " Drama Movement in kashmir ( Kashmiri ) " he enjoys the unique distinction of being the first Theatre artist in kashmir whose Book ( Drama Movement in Kashmir ) is in the syllabus of kashmiri department University of kashmir .

His versatility was again on display in" Prem Nath Versus Prem Nath", a play wherein he acted in a lead role along with Shadi Lal Kaul, another talented actor of the state. In 2014, the play was staged in Jammu and Srinagar . We saw fully packed Auditoriums with audience enjoying every dialogue and its delivery from Makhan Lal Saraf..

About this play Theatre artist Rajinder Tikoo adds ,

“When i witnessed
Prem Nath Vs Prem Nath"", i was astonished to see Saraf sahab with
same energy as he had two decades before ....he utilized full proscenium with
full energy such a big stage SKICC srinagar which is never meant for theatrical
ventures....Amazing it was.....”

Presently he is a little lonely man on account of the death of his wife. He misses his kashmir where from he had to migrate out in 1990 due to widespread militancy .Age is also not on his side.

Inspite of all these constraints, he is ever busy with his "Bhoorang Theatre" and other activities connected with Theatre in the state. Most of the third generation of Theatre artists from kashmir have either worked with him or have been directly trained by him. He did not say so to me.Many artists confirmed this to me in their private conversations .Entire fraternity of these artists give due regard to him as their GURU.

Not many of us know that he also wrote poetry for sometime in his youth.Those days he was known as Makhan Lal 'Mastana ' to his friends and well wishers.

He is recipient of many awards both within the state and outside .What more is needed to be eligible for a PADAM SHRI ? Can i ask this question?

Sunaa hai ho Bhi Chukaa hai Firaq e zulmat o noor ,

Sunaa hai Ho Bhi Chukaa hai visaal e Manzilo Ghaam ,

Badal chukaa hai Bahut Ahl e Dard Ka dastoor ,

Nishaat e vasal Halaal o Azaab e Hijr haraam,

Jigar ki Aag nazar Ki Umang , Dil Ki Jalan ,

Kissi Pe Charah e Hijraan Ka Kuchh Assar Hi Nahin ,

Kahan se Aayee Nigaar e sabaa kidhar Ko gayee ,

Abhi Chirag e sar e Raah ko Kuchh Khabar Hi nahin,

Abhi Girani e shab mein Kuchh Kamee nahin Aayee ,

Najaat e Deeda o Dil Ki Garhi Nahin Aayee ,

Chale Chalo Ki Woh Manzil Abhi Nahin Aayee.

( Faiz Ahmed Faiz )

We hear now that the light and darkness have parted ,

Also, now that there is a union of quest and goal,

That the lot of the afflicted is now changed ,

That the pleasure of union is now granted,

banished is the torment of separation.

Fire in the bosom , longing in the eyes , and heartburn,

nothing can soothe the anguish of separation.

Where did the sweet breeze come from?

Where did it vanish ?

The street lamp has no news yet.

Even the night's heaviness is just the same,

the moment of salvation has not arrived

for the heart and the eye.

So let us press on ,

The destination is still far away.

( Autar Mota )

PS

(1)In Kashmir,We also
remember “KATH “ as a common kashmiri word used for satire and
description of some not liked person/ personality.
Like yaava kath or a person who tries to look young and fashionable. Kashtwaarie
kath or an ugly looking or a person not
worth being presented .Zomba Kath or a
short statured sheep not worth purchase and Bechha Kath or a begging sheep for a person who always begged for favours and material benefits from others .For beauty and height kashmiris used word Kazaakh teer or sheep and goats of
kazaakhiastan. Remember how in early sixties of the last century ,
kashmiris quickly attached kath with the name of the then interim
chief minister/prime minister of J&K who took over when Bakshi Ghulam Mohd
had to step down from his chair .Nicknaming and Lampooning was a favourite amusement of kashmiris . Many kashmiri
surnames are a result of this kashmirian trait.

(2)

A prayer to deity was a part of traditional folk
theatre.The prayer was done by way of singing accompanied with music . This
used to be an introduction of the Drama.

(3)

Sutradhaar used to come in the beginning of the
play/Drama and introduce the play to the audience.Now sutrdhaar is present all
along the play. He acts and does multi tasking. He is a bridge between the
actors on the stage and the audience.

(4)

A vidhushak is a jestor,a clown or a comedian
,so essential to build audience interest apart from giving entertainment value
to the Drama/ Play..